In so far as I have been able to determine, nothing by way of general criticism or comment has previously been written on the subject of Greek plots in twentieth century tragedy, although individual writers have themselves admitted a certain indebtedness to their sources, and comments regarding the specific plays which I have cited, of course, mention a Greek origin. As regards the whole field of contemporary drama, however, I believe that no treaties earlier than this one has discussed the prevalence of Greek plots among twentieth century dramas.

Thesis advisor: Elizabeth Rhodes / This dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

For my senior thesis, I have compiled essays that cover traveling to Aix en Provence for the month of June 2103 and growing up in East Tennessee. This project should exhibit my skills as a writer in the nonfiction category. I describe personal experiences, portray characters, and attempt to show readers a world that they may not otherwise have been able to experience. I blend narrative essays with travel writing to show overall how these two components create an intercultural experience that work to inform and answer each other.

Worker. Trade Agent. Serf. Etain Ixtii detests the labels others give her, but there are some things she must accept. She was genetically designed to do specific tasks. Her breeding instincts interrupt her life every forty-five days. But workers like Etain are taught not to question so when she returns from training questioning her home world Gno's profit-based caste system, she risks her life. She doesn't want to be an agent and doesn't want to cross through the wormhole to never return. Why does she have to go? Can't someone else? Usurer Serria, the owner of Etain's birth and training debt, quickly tires of her problem worker and launches Etain through a collapsing wormhole so she can collect the insurance payout. Very bad business indeed, but Etain manages to survive the attempt, arriving on the other side plagued by debilitating headaches and hounded by a dangerous insectoid enemy that no one, including Physician Leigheas Sternbow, the Takla royal physician, and Mercine Feney, the Empire's powerful female leader, can make disappear. / https://dc.etsu.edu/alumni_books/1028/thumbnail.jpg

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Thesis (Ph. D.)--University of Nevada, Reno, 2005. / "August 2005." Includes bibliographical references (leaves 229-239). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

Human rights have become a dominant framework through which to narrate and read political violence in contemporary literature concerning Africa, the Caribbean, and the Indian subcontinent. This dissertation argues that human rights discourse depoliticizes crises that result from histories of colonialism, inequitable development policies, and the growth of transnational capital. The testimonial narrative structure of human rights treats political violence as trauma and portrays the narrator as testifier and reader as witness. It assumes that in the exchange between these figures a cathartic process takes place and that by proxy the original political violence may be resolved. The language of human rights is thus deployed to illuminate the suffering of others without interrupting processes of global capitalism or narratives of US exceptionalism. This dissertation examines the intersection of human rights discourse and postcoloniality. It analyzes the decolonial strategies through which postcolonial texts challenge human rights discourse and shift focus from trauma and catharsis to the national and international policies, business practices, and cultural narratives that sustain inequitable power structures. This dissertation begins by critiquing the concept of literary humanitarianism, which suggests that the reader may fulfill a humanitarian act by reading a story of suffering. After showing in the introduction how this literary trend is connected to changes in the nation-state system, the first two chapters analyze the narrative mechanics of the testimonial narrative structure. As these opening essays examine depictions of apartheid in South Africa, genocide in Rwanda, and slow violence in India, they problematize the expansion of the 'universal' humanist narrative voice and critique the construction of a humanitarian reader. Chapter three then compares methodological approaches to storytelling to analyze the relationship between literature, the archive, and lived reality in post-apartheid South Africa. Moving into a discussion of the economic and cultural imperialism that characterize the postcolonial condition, the final two chapters reveal how representations of old and new diasporas across Africa, the Caribbean, Europe, and the Americas resist the language of human rights. Together, these chapters argue that the political potential of literature is not in staging humanitarian resolutions but in interrogating the frameworks that sustain inequality.

<p>This study examines Irish modernist literature in order to complicate established critical modes which read modernist movements as reflective of distinctly vernacular or cosmopolitan aesthetic and political commitments. I argue that neither recent models of vernacular modernism nor older models of cosmopolitan modernism entirely account for the stylistic innovations and formal experiments of modernist literature. Instead, modernist writers negotiate a field of tension between the poles of cosmopolitan and vernacular, and demonstrate that their works represent forms of identity that accommodate elements of both national belonging and cosmopolitan individualism. </p><p>Examining works by four authors - William Butler Yeats, Elizabeth Bowen, Samuel Beckett, and Raymond Queneau - this project argues that modernist literature represents a set of idiosyncratic, dynamic efforts to negotiate the tensions between the limits of the nation-state system and a variety of emerging transnational modes of cultural exchange in the late nineteenth and early twentieth centuries. The nature of modernist writers' efforts to negotiate a period of passage between national and global systems of exchange is, I think, especially visible in the case of Irish modernism. Ireland's transition from a part of the United Kingdom to an independent nation-state in the interwar period makes that nation's literature an exemplary case for my argument, as does the critical importance of Irish writing in the modernist canon. </p><p>By examining these and other critical and historical perspectives alongside a sampling of plays, novels, short stories, and memoirs, this study makes the case that modernist literary aesthetics spring from writers' efforts to make sense of competing desires for national belonging and cosmopolitan autonomy. Focusing on works that cross categorical boundaries between Irish and cosmopolitan modernism, this study traces the ways in which modernist aesthetics construct dynamic, adaptive relationships between the global and the national, and suggest that we can imagine them as something other than static, exclusive alternatives.</p> / Dissertation

In my first chapter, I will discuss the mark of Cain at greater length and introduce the idea of daemon. In the second chapter, I will discuss how it functions as part of Nietzschean active nihilism. Finally, in the third chapter, I will explore the problem of somberness and the problem of fanaticism, and see how Hesse tries to resolve these two problems.